A C K N O W L E D G E M E N T S
This project benefited from the input of numerous historians, educators, students, and the audience of the play Genericide. Joel Dorkam provided the initial support with a place to stay in Israel and references to interview six people he thought could help: Yehuda Bauer, Chaim Gouri, Shalmi Barmore of Yad Vashem, Uri Aloni of Lochmei Hagetaot, Ely Ben-Gal of the Diaspora Museum, and Eliane Levy-Valensi. Their interviews and feedback formed the foundation of the project.Barbara Goodman and Adrian Schreck of the Northern California Holocaust Center provided access to the four survivors’ videotapes, created by the Oral History Project of San Francisco. The Dachau concentration camp educational materials were also included for educational purposes. Anne Williams, a sixth grade teacher in Paradise, contributed the artwork of her students which provided a unique, imagination-driven component which enhanced the project. I am indebted to her persistence and drive.
I want to thank my graduate committee: Professor John Ittelson, Professor Carol Edelman, and Professor Sam Edelman. The coaching and freedom needed to explore this topic was tempered with enough guidance to give it focus by Professor Ittelson. To the Edelmans, who were a driving force in the creation of the Holocaust Remembrance Committee (HRC) which explored the Holocaust through art, intellectual discussion, and diverse events, I give thanks for providing the intellectual and creative space needed to explore multimedia and the Holocaust.
Multimedia is a collaborative effort; this project benefited from the freedom to explore and the discipline to take a planned approach. I look at it as an MBA in multimedia, where business and art merge. I would finally like to thank the artist who created the sets for Genericide and the graphics for the CD-ROM: Gudrun Fehrer, my friend and companion as well as a German who believes that the Holocaust isn’t something to be forgotten, but to be learned from.